In the Self-Fictions series, Thomas Corriveau explores the printed image within the perspective of a hybrid conception that brings together concerns with the practices of drawing, painting, and printing. The artist insinuates himself into images borrowed from art history and popular culture. The artist's figure becomes a malleable unit that lends itself to various narrative inflections. Through these mises en scène, which are both sentimental and touching, Corriveau proposes a disturbing reflection on the precariousness of the human condition.

Corriveau’s works are representations of multiple identities, of an interchangeable and fragmented self, of a theatricalization of life. They are questionings of the human condition and the fate of the self. But the artist’s approach seems above all a means for him to travel through art history in his own way, to disappear into the very material of his art, to exist through his own construction of history and the imagination. (Mona Hakim, 2007)

In his new works from the series titled Autofictions (Self-Fictions), Corriveau creatively redirects and mediates the flow of data, choosing images from the Internet, newspapers, and other archives – from the trash stratum to the iconic. He then mediates them, appropriates them, exercises control over them, and makes them his own with ingenuity, gusto, playfulness – and a certain measure of the macabre. (James D. Campbell, 2009)